Jaina Archaeological Heritage of Tamilnadu

Author(s): A Ekambarnathan
Publisher: Bharat Varshiya Digambar Jain Mahasabha

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JAINA ARCHAEOLOGICAL HERITAGE OF TAMILNADU
the expressions of subtle emotions and an inner harmony which comes out in the earlier paintings has been sacrificed as optimum use of available space and depiction of intricate details takes precedence in the artists mind.
Various colours like yellow, blue, dark blue and red have been used; while red has been used to mark facial features, jewels and other outlines, black has been used to sharply portray, the disproportionately large eyes. Conventionalised decorative patterns adorn the remaining portion of the ceiling.
A special feature noticed even in the early phase of paintings here, (identified as a transitional phase between Cola and Vijayanagar dated to the 13th - 14th century A.D) is perhaps the introduction of a new theme. Apart form the subject of the Samavasarana and Tirhtankaras, there was the introduction of a solitary figure of a yaksi. This is indicative of the fructification of the gradual changes that had occurred in the Jaina religion from the 9th century A.D onwards. The veneration of yaksis was by then, firmly a part of the Jaina mode of worship.
Tiruparuttikunram
Tiruparuttikunram, also known as Jina Kanchi, is an hamlet in the outskirts of Kanchipuram. This is another Jaina centre where paintings are found in the mandapa of an ancient Jaina temple called the Trilokyanatha temple (dedicated to Vardhamana). This temple was first constructed in the Pallava period, but was subsequently renovated in the Cola as well as Vijayanagar periods. It has a mandapa called Sangita mandapa, constructed by Irugappa, the general of Hari Hara II (14th century A.D). In this mandapa, we find
paintings of two phases, one which is co-eval with the